Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Uruguay and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Traffic Nightmare to the grime kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
It's A Beautiful Day,
Orchestral Manoeuvres in the Dark,
Rod Modell,
John Holt,
Peter & Gordon,
Motorama,
The Skatalites,
Sex Pistols,
Brick,
Teenage Jesus and the Jerks,
Marshall Jefferson,
Oppenheimer Analysis,
David Axelrod,
Organ,
The Pop Group,
Heaven 17,
The Saints,
Newcleus,
Can,
Bush Tetras,
Infiniti,
Public Image Ltd.,
David Bowie,
Kas Product,
Flash Fearless,
Spoonie Gee,
Shoche,
The Fugs,
Sun City Girls,
The Mojo Men,
Porter Ricks,
The Smoke,
Wally Richardson,
Babytalk,
The Vogues,
The Red Krayola,
The Count Five,
the Slits,
Bobbi Humphrey,
Black Moon,
Jeff Mills,
Rhythm & Sound,
Royal Trux,
Man Eating Sloth,
Chrome,
Marc Romboy vs. Booka Shade,
Liaisons Dangereuses,
Monolake,
Sixth Finger,
Wighnomy Brothers & Robag Wruhme,
F. McDonald,
The Monks,
Al Stewart,
Youth Brigade,
Dark Day,
Brand Nubian,
Yazoo,
Erykah Badu,
Gang Green,
T. Rex, T. Rex, T. Rex, T. Rex.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.